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From Beijing Opera to Yangbanxi

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From Beijing Opera to Yangbanxi University of Kentucky UKnowledge Theses and Dissertations--Music Music 2013 CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI Yawen Ludden University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Ludden, Yawen, "CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI" (2013). Theses and Dissertations--Music. 19. https://uknowledge.uky.edu/music_etds/19 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained and attached hereto needed written permission statements(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine). I hereby grant to The University of Kentucky and its agents the non-exclusive license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless a preapproved embargo applies. I retain all other ownership rights to the copyright of my work. I also retain the right to use in future works (such as articles or books) all or part of my work. I understand that I am free to register the copyright to my work. REVIEW, APPROVAL AND ACCEPTANCE The document mentioned above has been reviewed and accepted by the student’s advisor, on behalf of the advisory committee, and by the Director of Graduate Studies (DGS), on behalf of the program; we verify that this is the final, approved version of the student’s dissertation including all changes required by the advisory committee. The undersigned agree to abide by the statements above. Yawen Ludden, Student Dr. Jonathan Glixon, Major Professor Dr. Lance Brunner, Director of Graduate Studies CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI DISSERTATION A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the School of Music at the Kentucky University By Yawen Ludden Lexington, Kentucky Director: Jonathan Glixon, Ph.D., Professor of Musicology Lexington, Kentucky 2013 Copyright © Yawen Ludden 2013 ABSTRACT OF DISSERTATION CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI This study seeks to investigate the modern derivative of Beijing opera, known as yangbanxi, through macro and micro approaches. The first part of the thesis surveys the development of Beijing opera under the historical context and in its social, political, and cultural perspectives. The second part, taking a microscopic perspective, undertakes an in-depth analysis of the compositions that were solely created by composer Yu Huiyong. First, it assays the application of Yu’s theory to his compositions of various Beijing opera arias. Second, it analyzes Yu’s instrumental music in compositional dimensions such as material, structure, and techniques, considering the larger implications of Yu’s approach. Third, it explores the highly acclaimed opera Azalea Mountain as a case study, integrating compositional analysis and sociopolitical perspective in order to give a relatively full picture of Yu’s final work as sole composer. The analysis also focuses on three aspects of the yangbanxi. The first aspect is the role of composers, in which Yu Huiyong was largely responsible for shaping the musical language and influencing the direction of Beijing opera. The second aspect is the role of politics, focusing on Jiang Qing, who had a clear vision to transform Beijing opera along revolutionary lines and the artistic and political wherewithal to implement that transformation. The third aspect is the role of culture in shaping society, with an emphasis on yangbanxi, as the artistic centerpiece of the Cultural Revolution, and special consideration is given to its role in creating a new mass culture. Beijing opera, as a living art form, had been undergoing a process of modernization throughout the first half of the twentieth century, but it was Yu Huiyong who clearly articulated what needed to be done to make the traditional art form relevant to modern audiences. In particular, the most significant achievement of yangbanxi was its music development, which achieved a new height in artistic development thanks to Yu Huiyong’s fully constructed music theory and newly established music and performance system. As the main composer, designer, theorist, and organizer of yangbanxi, Yu Huiyong made the greatest contribution to these developments. His academic research laid the theoretical framework of the further development of opera music, and his hands- on practice and music innovation provided valuable experience for the younger generation. KEYWORDS: Beijing opera, Cultural Revolution, Jiang Qing, yangbanxi, Yu Huiyong CHINA’S MUSICAL REVOLUTION: FROM BEIJING OPERA TO YANGBANXI By Yawen Ludden Jonathan Glixon, Ph.D. Director of Dissertation Lance Brunner Director of Graduate Studies November 26, 2013 Date To the memory of my father and mother, for instilling in me an understanding of what is important in life, and for the great family they gave me. To my sisters and brother, for being role models I could look up to. To David, Jenny, and Jason, for bringing joy to my life. To all people who love Beijing opera and Chinese culture. ACKNOWLEDGEMENTS This dissertation would not have been possible without the generous help, encouragement, and assistance of many people on three continents. First, I would like to thank my mentor, Dr. Wesley Roberts of Campbellsville University, who taught me how to do research. This dissertation began as a term paper in his World Music class, and he spent many hours discussing my work and guiding me as I turned it into a master’s thesis. Under his guidance, I made the transition from a half-hearted graduate student just trying to get an A in his class to wanting to be a scholar and doing primary research on a larger scale, thus changing the course of my life, far for the better, I believe. I also wish to extend my thanks to the kind people of the CHIME (European Foundation for Chinese Music Research) committee in Amsterdam for accepting my first conference paper and welcoming me, a fledgling scholar, as one of their colleagues; I have enjoyed a number of fruitful exchanges with them since then. I am greatly indebted to my advisor Dr. Jonathan Glixon for accepting me as his doctoral student and showing unflagging support. Dr. Glixon was always available in his office when I needed his help, and he responded quickly to my various emails and requests. He was the ideal advisor, offering me just the right mix of guidance and freedom. He allowed me to follow my research interests and my Chinese intuition, yet he always offered insightful advice and apt commentary on my various scholarly activities such as conference proposals and scholarship applications. It was during numerous interactions with Dr. Glixon that this project began to incubate and take shape. During the iii last year of my dissertation, Dr. Glixon carefully read through an early version of the entire manuscript and offered constructive and detailed suggestions for revision. I also owe a great debt of gratitude to Dr. Denise Ho, who took a hands-on approach to teaching me twentieth-century Chinese history by taking me to the Shanghai Library and Shanghai Archives, and showing me how to gain access to primary documents. But even more importantly, Denise has been a true friend. Through fascinating conversations we had during outings, concerts, and dinners, both in Shanghai and in Lexington, Denise helped me to focus my ideas and clarify my thoughts. Her enthusiasm for my project and her professional critiques made the process an enjoyable and intellectually stimulating experience. She went through drafts of this dissertation with a fine-toothed comb; without her copious insightful comments, this dissertation would be far weaker than it currently stands, although I regret it still has not attained the potential she has always seen in it. I would like to thank the rest of my committee as well. Dr. Donna Kwon read every chapter and asked just the right questions to help me clarify my ideas, and she pushed me to think like an ethnomusicologist. Dr. Karen Bottge has been an inspiration to me since she arrived at the University of Kentucky, and I see her as a role model for the kind of scholar and teacher that I would like to someday be. Dr. Lance Brunner has been helpful to me through every stage of this project. I would especially like to thank Dr. Richard Domek for his advice and encouragement early on in this research project. He taught me the art of music analysis, which is a core component of this project. Additionally, I would like to express my deep gratitude to Dr. Richard Schechner, professor at New York University and chief editor of The Drama Review, for his iv inspiration and encouragement. His insightful comments and sincere interest were very encouraging as I struggled to make sense of yangbanxi and tried to convince other people of its importance. I am also deeply indebted to Dr. Steven Hewbner of the McGail University and Dr. Robert Winter of the University of California at Los Angeles for seeing the potential in this research project long before I saw it myself and showing more confidence in me than I ever dared to assume for myself.
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